FRANCESCO DE PREZZO
NULL PAINTINGS
MOCKUP PAINTINGS
PLACEHOLDERS
HIDING SURFACES
EXHIBIT MAKERS / AI
KILL THE REFERENCE

ABOUT / TEXTS
CONTACT

upcoming 2025 :
>Solo Exhibition, LOOM Gallery, Milan, IT
>HEART Herning Museum of Contemporary Art, Herning, DK
>Fundación Bienal de Cuenca 2024, Cuenca, EC
>HEART Herning Museum of Contemporary Art, Herning, DK
>Fundación Bienal de Cuenca 2024, Cuenca, EC

latests:
>group at Shelter, Ghent, BE
with: Felix Fasolt, Lieve Shukrani Simoens, Jacques de Noodt & Jo Leydt,
Lisa Ijeoma, Aaron Daem, Lydia Rigaux, Max Kesteloot, Evelyn Vanoverbeke, Francesco De Prezzo,
Joselito Verschaeve, Bahati Simoens, Willem Boel, Niels Raoul Boone, Maarten Inghels
>PLACEHOLDERS, Marathon Gallery, Ellenville–NY, US > review on MOUSSE
>Blind Taste, ARBAG, Lisbon, PT
>Artissima, Loom gallery, Turin IT
with: Jonathan Monk, Willy De Sauter, Jan Dibbets, Vadim Fishkin, Paul Gees, Benjamin Jones, Antoine Langenieux Villard, Ignacio Uriarte,
Francesco De Prezzo
>Positions, Saon 75, Copenaghen, DK
with: Jan Domicz, Federica Francesconi, Francesco De Prezzo
>Placeholder Sculptures, FORM, Wageningen, NL > review on MOUSSE
>Artviewer In conversation with Francesco De Prezzo > interview on ARTVIEWER
>Looks like paintings, MOTT Projects, New York, US
with: Moritz Neuhoff, Christopher Wool, Felix Gonzales Torres, Josh Reames, Francesco De Prezzo, Olve Sande, Théodore Géricault
>Miart 2023, Loom Gallery, Milan, IT
with: Robert Barry, Stanley Brouwn, Christo, Francesco De Prezzo, Willy De Sauter, Jan Dibbets, Paul Gees, Dan Graham, Benjamin Jones, Jonathan Monk, Helmut Newton, Fred Sandback, Giacomo Balla, Ian Wilson > LOOM

“Dear M, we are all assured that painting is inherently a two-dimensional affair, yet we invite you to consider an additional relationship: that of the image of the image.
For years, we have meticulously endeavored to destroy every painting created. And we have not taken pleasure in this, quite the contrary, we have felt considerable
contempt. You see, we have never been as interested in painting as much as something akin to it. We pursued the dimension of emulation, and in the end, in the image
of the painting reproduced on the canvas, we found the same aura that characterized the original color, in a vision free and lofty up to the sky.”